The Contrast

The signs are everywhere: humans have a unique ability to consciously integrate opposite states. We see it in the relationship between energy and matter, or the spirit and the physical, and we see it in the assimilation of the different natures between in-breath and out-breath. And it’s an important idea because things that are in different states, i.e., energy and matter, need a third state to make the integration – and we humans provide that third state. Thus, in us, all things can come together in ways that are not possible in any other form. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I don’t know whether my dreams last night made any sense to me. I know I had one dream that must have been triggered by a spill of something on the couch because it felt like I was focused on how you could absorb something and improve it by absorbing it. I just don’t remember enough details of that, but that seemed to fascinate me a bit how you could just take salt or something and absorb something.

And then I know I had a dream that I seem to be visiting people, and at night time. They had to scatter with where they slept, and one girl went up into the mountains kind of alone to stay in a house that used to be lived in by her parents. And they had left now and she had the house. 

And some people stayed a little bit closer in the city. And I seem to travel up on a road near her house, but, realizing it was dark out, I just seemed to sleep somewhere kind of rough. And then the next day, when we all got together, a friend that I knew that used to lead seminars is there, and she’s meeting with all of us. 

And I had assumed that the person that slept in her parents house was comfortable, but I found out that actually she felt lonely being there. I’m hearing about how people felt about their night. And then the seminar leader gets up and she goes over and she takes a look at a pair of boots that I have that are this soft kind of yellow leather, and seems really interested in them. And then she leaves. 

And so then I go study my own boots to see what it was that kind of interested her about them. And I think that was when I woke up. I mean, none of the dreams seem to make any sense to me.

John: What’s interesting is I see all of the dreams connected. It’s almost as if you’re shorting out a story, so you’re telling it in bits and pieces. Because to tell it in one fell swoop or something, is something still of a mystery to you, so it seems that by the bits and pieces you’ve got a whole picture. 

And that you have to take in all of that as a whole picture, which means that I should probably start trying to do that with all of the dreams that happen, and the meditation dream and everything else that are connected in a given night because I can see that there is in some cases 180-degree snap difference – but is that really a difference? 

Is it not just a way of how it needs to be processed? Because in an out-breath and an in-breath way, there is a dichotomy that exists. And that if something has a particular focus, and is being brought down, and then on an in-breath you have the vibration of something of a letting go in a greater expansiveness back towards a stillness. 

And the out-breath is the opposite of that, because again, it’s the bringing of something down and through and doing it in a way that is accommodational to manifestation. And somehow or another, the in-breath, then, will look to be in contrast to it if you break those things up in a sequencing or something, you have them going on like that. 

And, in your dream, first you started with the absorptive process, it’s a component that has to be there, that both the in-breath and the out-breath are things that have to be absorbed in one’s nature. So you start with the theorem that, through all of this, there has to be the ability to sweep in and sweep up or, in other words, absorb, or take in, the unfoldment simultaneously, because you never know which is going to be unfolding – whether it’s an out-breath or an in-breath. And they follow so close to each other that you need to be able to absorb their effects so that you don’t get caught in a personal motif. 

In the second aspect of it you were shown the differentiated parts of yourself where there is the part that comes into a scenario, in other words, sleeps in the house, that is the parent’s house or family house or whatever it is, that is contractive, and contrasting, and identifiable to that person. And so there is a type of coming down quality that is distinct and, perhaps, miserable as an expression. 

And, at the same time, or to also be happening, is the expansiveness of an event, of something that’s supposed to take place in the atmosphere. And because it’s expansive, and the other was contractive, that can come across as a contrast. 

And then the final image, you saw this as yellow boots, and boots are a way of conducting oneself, and yellow is a way of being able to be in a simultaneous way, not having to be thrown around by both in-breath and out-breath. Thus the reason for the word rhythm, but we’re still looking for an even more in-depth meaning to the word rhythm.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Contrast

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